The Moving Picture Weekly (1916-1917)

THE MOVING PICTURE WEEKLY F [N "The Heritage of Hate," the fortysecond Red Feather Production, Director Bu rton George has cast Roberta Wilson, for the first time in her life, in a role which calls for more than the conventional prettiness and sweetness of the stage or picture ingenue. In this strong story of an inherited vendetta, by Walter Woods, she has the role of a child bom under a cloud, who resolves to dedicate her life to the avenging of the wrong done to her mother by the rich and successful shipping merchant, who is her unacknowledged father. Alone she plans his run, in the accomplish ment of which she is assisted by a group of foreign plotters, to whose interest it is that the shipper of munitions to Europe shall be brought to destruction. Miss Wilson handles the difficult role, with its many emotional contrasts, like a veteran, and her versatility argues well for the future of the girl who has been less than a year a motion picture actress. In her support are William Quinn, in the role of the object of her hatred, Paul Byron, who has the part of the hunchback, who finally convinces Roberta that love is stronger than hate, Betty, Schade, Eileen SedgAvick and', Lillian Concord. Of these Miss Schade has perhaps the best reason for remembering the picture. She was called upon to do an unusual "roll" — do^vn the whole length of a staircase. The steps were padded, of course, but the scene required a rehearsal, and Miss Schade refused to have a substitute put in for her. It is impossible to steer oneself just exactly in the center of each step while rolling down stairs and she found that the sides of the treads were very hard indeed. The finished result certainly adds a thrill to the big scene, but Miss Schade was black and blue for weeks. The of Heritage Hate " glistens in the multitude of glass chandeliers with which it is lit. A crowd of really welldressed men and women promenade and dance on the immense floor to the music of a large string orchestra. The thrill of thrills of the picture is the fire scenes, photographed by night, on the Municipal pier of the city of San Diego, where part of the picture was filmed. The announcement that the fire scenes would be made on the docks was made in the newspapers, and the result was a crowd of many thousands of persons, who were also photographed for the picture. Director George exploded fifty pounds of powder under an enormous pile of barrels, boxes and debris of all kinds, hurling the whole in the air, to the accompaniment of dense clouds of 8moke. An old man, thinking the waterfront was being bombarded, dived off the pier into the water and was rescued by a passing vessel. The San Diego fire department had been requisitioned for the occasion, and came dashing down the main street — Broadway — at full speed, past the great crowd — all of which was faithfully preserved by the camera for use later in the completed picture. The night before the motor boat "Gryme" had been photographed for the film, when a bomb was exploded on board, sending the sailors leaping from all sides into the water. Another grat crowd witnessed this, and the San Diego papers aver that these were the most thrilling scenes ever made in the city for motion pictures. Bradley had been living with Myra. for sometime, but he was making love to Florence and finally won her consent to their marriage. Florence had money and position which MjTa had not, so Florence won. And so, in poverty and without a name, Roberta was bom, and as she grew older, watched her mother die from a broken heart, and so within Roberta exchanges hate for love. her grew hatred, a desire for revenge ORTY-SECOND Red Feather Production. Written by Walter Woods, scenario by E. J. Clawson and produced by Burton George, with Roberta Wilson and William Quinn in the principal roles. A story of an inherited revenge and its accomplishment, by a beautiful young girl, who learns at last to change hate for love. One of the handsomest sets ever erected in a studio was used for the ball scene in this picture. The walls were fully thirty feet high, with a huge stairway in the middle, flanked on either side by balconies overlooking the dancing floor. The whole thing is built of mottled marble, that